The Nigerian Talking Drum

The Nigerian Talking Drum is closely tied to the Yoruba language of South Western Nigeria.

The Yoruba language is a tonal language that speaks in proverbs where a word alone will not suffice.

The Talking Drum speaks in tones that are adjusted with leather cords that run the length of the drums body.

As it is played it's tones have the ability to mimic the spoken word, hence it is actually a Talking Drum.

Several other cultures play beautiful instruments visually resembling the Talking Drum yet the range of tones is not achieved.

A master of the Nigerian Talking Drum conveys a litany through the power of it's "spoken word."


The Talking drums have an important presence in all aspects of African life,especially the Yorubas.

The drums are used at birth, in ancestor worship, rites of passage, healing, storytelling, warrior rites and initiation, at the time of death, and as an an important means of communication over long distances

Dabi,an internationally recognised  percussionist ,singer,dancer,a true Griot ,born in Nigeria, West Africa,comes from a family of Master Drummers of the Yoruba tribe The Aare Ilu Household of Iseyin ,a town in Oyo State ,Nigeria .

From an early age dancing and drumming formed an intrinsic part of his life. He was raised in the Yoruba tribal culture, one that works, worships, lives and breathes to the beat of the drum, which has been primarily used to transmit traditional knowledge.

At home in Nigeria,he is known for his expertise in every genre from gangan to bata,akuba.gudugudu, Ogido,ashiko,bembe,kongaa sakara, agidigbo.

Between 1990 to 2002 Dabi has toured internationally performing in dozens of high-profile festivals and independent tours of USA,Germany,Italy,Spain,France, Canada,India,Austria Scadinavian,Japan, South Korea ,Poland,Jamaica,Holland and United Kingdom.
Apart from being steeped in Yoruba tradition as a ritual drummer, a flexible and experimental virtuoso of international calibre

":Debo Dabi Kanyinsola, a rare talent of his kind, an all -round master drummer and who is accomplished in an array of Yoruba traditions and drumming styles.  He has emerged over a decade as the most revered gangan drummer in Nigeria and perhaps the most famous gangan drummer in the world."-- Africa Today"
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"My father (May God rest his soul) was a legendary drummer,and my grandfather too. All my ancestors,ever since we can remember . dedicated to this noble work."


Scholars have deduced that while melody and harmony are
preeminent in traditional European music (and the West
generally speaking) in African music (more so in West
Africa) rhythm is king.

The drum is the greatest purveyor
of rhythm. And rhythm is arguably the most definitive of
musical style in popular contemporary music. Although we
use the drums in our music, mostly to create grooves and
stimulate dance, in traditional Yoruba music the drum
plays more diverse roles. They do much more than stimulate
dance, especially in the sacred worship of Yoruba deities.

In my band, we use the four major families of Yoruba
drums. Each family consists of drums of different sizes
playing generally slave/master, support/lead roles. In
each instance, the mother drum (iya ilu) plays the lead
role. The four families are Dundun/Gangan, Bata, Sakara,
Ogido/Gbedu. Traditionally, each family has a complete
ensemble. Oftentimes we use different drums from different
families together, and other times, we play the drums as
complete ensembles as they are used traditionally.

Although the Yorubas utilise the flute, agidigbo and goje
just as there are lots of melodic and harmonic instruments
in other African cultures- kora, marimba, mbira, oja (ibo
flute), kalimba, etc. their music is predominantly driven
by drums and other percussion instruments. Drums, drums
and more drums.




Dundun ensemble

This is the hour glass drum commonly referred to as the talking drum. Actually, most Yoruba drums mimic speech (talk)

The iya ilu leads the whole ensemble. It leads the talk, dictates the pace, determines the song etc.
The Omele genus comprises

(i) Isaju (fixed high pitched dundun) Its pitch is fixed to a high tone by tying the tension strings.
(ii) Atele (fixed low pitched dundun) By tying its tension strings, its pitch is fixed to a lower tone than the isaju.

Each of these two drums plays a different rhythm. Their combined groove is the foundation on which the bigger mum drums build their own rhythms. The isaju literarily means 鍍he one that leads in front・while atele means 鍍he one that follows the lead・

This basic 斗eader & follower・principle is common to the other Yoruba drum ensembles used in my music. The drums may bear different names but the same roles hold for each of these families. Although some omele lead while others follow, they are still all subject to the overall leadership of the iya ilu (the mother drums)

The dundun family usually includes one gudugudu which is shaped like a bowl. It is beaten with two leather beaters while all the other drums are played with one bent wooden stick while the other hand is used directly on the drum.

The Dundun Family

IYA-ILU ................................................................................................................Atele

Omele.........Isaju.........................................................Gudugudu

A more portable version of the dundun is more popularly used in urban social music. This is called the gangan. It also has a complete family of iya ilu and omele just like the dundun family. It is common to mix drums from these two size categories. The dundun has a bigger and deeper sound than the gangan.

This basic nuclear family is usually extended by multiplying the drums and players. So an extended dundun family could include 1 gudugudu, 6 isaju, 6 atele, and 6 iya ilu. There are often many more in a large ensemble.

Robert Zildjian Passes Away At 89

Robert "Bob" Zildjian, founder of the Sabian Cymbal Company and a prominent figure in the global percussion industry for six decades, died on March 27 at his home in Brunswick, Maine after a brief battle with cancer. He was 89 years old.
Endowed with a sharp intellect and a cutting wit, he applied his boundless energy to expanding the percussion industry in the years following World War II, first at The Zildjian Company, founded by ancestors in Turkey, and later at Sabian Cymbals. He often remarked, "The business is the family, and the family is the business," and the lines between his personal and commercial life were blurred. Leading percussionists and business associates were close personal friends, his children were involved in the cymbal business, and thinking about the business occupied most of his waking hours.
During Bob's 60-year career, the industry got bigger, the scope and quality of products improved, and better operating methods led to dramatic efficiency gains. However, amidst all these tangible advances, the unbridled enthusiasm and optimism that Bob and his cohorts brought to the business has been dimmed. It will be missed.

SilverFox Ridiculous Stick Tricks Contest

Sakae Rhythm Cuts Ties With Yamaha

You may not be familiar with the name "Sakae," but this Japanese drum company has been the mastermind behind all Yamaha high-end drums for 40 years. After developing percussion instruments for the Japanese school market, Sakae's success caught the attention of Yamaha, who asked company to join forces with them in the late 1960s.
Now, almost half a century later, Sakae has decided to branch off on its own, as third generation heir, Eizo Nakata steps up to the plate to take his father's place. "In these difficult and uncertain economic times I realize the decision to independently build the Sakae brand is one most would see as risk," Eizo explains. "However; Sakae is not just another drum company. My family and I are committed to the traditions of making instruments of the utmost quality and excellence. Corporatism and the desire to become the biggest drum company in the world are not our priorities. What is our priority is making musical instruments that my father, grandfather and the legendary artists I have grown up with, would all be proud of. Bringing honor to their names, hard work and music is the driving force behind each and every morning I wake."

SilverFox Ridiculous Stick Tricks Contest

Are you ready for Silverfox Percussion's Ridiculous Stick Tricks contest? Whether you’re playing a custom kit at Madison Square Garden or a gourd on the streets of Ghana, Silverfox wants everybody who's anybody to show what they've got in the stick trick department. With a grandprize of $650 worth of drumming merch, all contestants need to do is submit a video of themselves doing the most ridiculous tricks they can conjure up to wow the judges. The contest opens today and ends on April 30th. Visit the contest page for more details here!

2012 V-Drums World Championship: U.S. National Finals

2012 V-Drums World Championship: U.S. National Finals

Texan Patrick Kennedy is Named U.S. Champion

By Drew Armentrout

On a gorgeous Halloween night in Texas, Hall 5 in the Austin Convention Center was transformed into a showcase for exciting drumming and edge-of-your-seat competition. Held on the eve of the annual Percussive Arts Society International Convention (PASIC), the U.S. finals for the 2012 V-Drums® World Championship exposed stellar drumming talent and the power and versatility of Roland drums and percussion to an audience of players, educators, students, and general drumming enthusiasts.
Co-sponsored by DRUM! magazine, Drum Workshop, Remo, and Vic Firth, the national finals was the culmination of over four months of exciting drumming competitions in the U.S. The annual V-Drums World Championship gives drummers around the globe a unique opportunity to explore the flexibility and creative options of electronic percussion by competing for Roland percussion products and other prizes.
Beginning with an 11-week online selection process that began in June, nearly 300 drummers submitted video performances that were carefully judged by Roland U.S. staff members. Of the hundreds of submissions, 48 contestants were selected to compete in eight semifinal events in front of live audiences nationwide. These events were held on two consecutive weekends in September, where judges chose the final eight drummers for the national finals.
In Austin on October 31, each of the talented finalists played an original drum performance using the TD-30KV V-Pro® Series V-Drums, OCTAPAD® SPD-30 Percussion Pad, and SPD-SX Sampling Pad. The big winner of the evening was Patrick Kennedy from the Austin suburb of Manor, Texas, who performed a well-constructed solo that combined electronica, real-time loops, and a solid display of groove and fills. Previously a runner-up in the 2011 semifinals, Patrick took it all the way this year, winning a TD-30KV V-Drums set with a set of REMO custom shell wraps, a complete set of DW hardware, dozens of Pat Kennedy signature sticks from Vic Firth, and a year’s subscription to DRUM! magazine. He’ll also represent the United States at the V-Drums World Championship 2, which will be held in April 2013 during the Musikmesse in Frankfurt, Germany.
“It was an honor to participate in the V-Drums national competition,” Patrick reflected on the experience afterwards. “I had an amazing time getting to hang out and talk with Thomas Lang and Johnny Rabb, as well as all of the other contestants. Also, performing for such a tremendous panel of judges in front of a hometown crowd was completely exhilarating. It's exciting to be blessed with the opportunity to bring the title of Roland V-Drums World Champion home to the United States of America!” Patrick was very gracious to acknowledge the support of teachers and professors from his high school and university years, and saluted the local school district for their support and emphasis on music education.
Runner-up was Phillip “P.J.” Hill of Milwaukee, Wisconsin, who performed with an exciting blend of technique and hip musical style. The other talented competitors included Brandon Currie from Marietta, Georgia; DeCarlos Davis from Winston-Salem, North Carolina; Jeffrey Fajardo from Brooklyn, New York; Tony “T.J.” Fisher from Long Beach, California; Casey Glass from Loveland, Colorado; and Reed Hayes from Deltona, Florida.
Right before the finals, Jeffrey Fajardo’s flight from Brooklyn was cancelled due to Hurricane Sandy. Undaunted, he rose to the challenge and drove all the way from his home to Austin for the competition, a journey of nearly 2,000 miles! Though he didn’t win, his dedication truly reflects the passion that the annual V-Drums World Championship inspires in its participants.
The contestants performed in front of a lively onsite audience of over 250, while a large, worldwide audience of web viewers watched the live event stream as it was broadcast on the Roland U.S. website.
Johnny Rabb opened the show with his unique drumming style, fascinating the crowd with his finesse, technique, and creative use of V-Drums technology. After the eight contestants played, Thomas Lang performed an extended solo on an expanded double-bass and multi-pedal TD-30KV V-Pro Set, leaving the audience awestruck with his incredible foot technique, energy, and powerful style.
The three celebrity judges included veteran drummer and renowned author Mike Dolbear; 2010 V-Drums U.S. National Finals runner-up Robin Lopez; and the incomparable drummer and educator Johnny Rabb.
“Having the contest at this year’s PASIC event was awesome,” said Roland Percussion Product Manager Tim Root, who once again served as the evening’s emcee. “We were able to introduce Roland V-Drums to a whole new group of drummers and percussionists. We were very pleased at the turnout and our partnership with the Percussive Arts Society. By streaming the contest live, we were able to reach a global audience. Now, it’s on to the V-Drums World Championship 2 finals in Europe—go USA!”

For photos, videos, and further information on the Roland V-Drums World Championship, please visit www.RolandUS.com/VDrumsContest.